Psychoacoustic cues to emotion in speech prosody and music

There is strong evidence of shared acoustic profiles common to the expression of emotions in music and speech, yet relatively limited understanding of the specific psychoacoustic features involved. This study combined a controlled experiment and computational modelling to investigate the perceptual codes associated with the expression of emotion in the acoustic domain. The empirical stage of the study provided continuous human ratings of emotions perceived in excerpts of film music and natural speech samples. The computational stage created a computer model that retrieves the relevant information from the acoustic stimuli and makes predictions about the emotional expressiveness of speech and music close to the responses of human subjects. We show that a significant part of the listeners’ second-by-second reported emotions to music and speech prosody can be predicted from a set of seven psychoacoustic features: loudness, tempo/speech rate, melody/prosody contour, spectral centroid, spectral flux, sharpness, and roughness. The implications of these results are discussed in the context of cross-modal similarities in the communication of emotion in the acoustic domain.     

音乐情感交流研究中的透镜模型

介绍了研究音乐情感交流的透镜模型和透镜模型等式及其在音乐教育中的应用。透镜模型旨在解释演奏者如何通过多种或然且部分过剩的线索表达情感,听者如何使用这些线索识别演奏者表达的情感。透镜模型等式（LME）将演奏者和听者线索利用的回归模型联系起来。以透镜模型为理论基础,LME为数学基础产生了用于改善音乐演奏中的情感交流的认知反馈法（CFB）,即在演奏者演奏结束之后,向演奏者反馈其线索利用与欣赏者的线索利用相比较的结果,以提高演奏者与听者线索利用的一致性     

The Impact of Music-Based Rational-Emotive and Cognitive-Behavioral Education on Positive and Negative Emotions: A Preliminary Investigation in Ecological Conditions

Although there is an extensive literature showing that both rational-emotive and cognitive-behavioral interventions (REBT/CBT) and music can alter various emotional responses, little is known about their ability to impact on both positive and negative emotions simultaneously. Thus, the present study aimed to investigate whether classical music combined with REBT/CBT psycho-education on emotions can alter people’s levels of positive and negative emotions. A number of 459 participants (62.7% females; m age = 36.67, SD = 11.754) were recruited for this study from the public attending to a classical music concert. The classical music pieces were selected by a group of experts in order to be conceptualized in relationship with components of the REBT/CBT’s ABC model of emotions (e.g., catastrophyzing, acceptance/meditation) and this conceptualization was also delivered during the concert (i.e., before each corresponding musical part). Emotions were assessed before and after the entire performance for all participants. Results indicated a significant change in emotions between the two assessments (F(11,397) = 59.99, p < .001, partial η² = .62), revealing significant increases for all the positive emotions and decreases for all the negative emotions that have been evaluated. This is one of the first experimental studies conducted on large-scale in fully ecological settings to confirm that music-based rational-emotive and cognitive-behavioral education might change the intensity of people’s positive and negative emotions simultaneously. These findings are discussed in line with the existing models of music and emotions.     

Effect of simultaneous model observation and self-modeling of volleyball skill acquisition

This study examined the effect of feedback with simultaneous skilled model observation and self-modeling on volleyball skill acquisition. 53 pupils 12 to 15 years old formed two experimental groups and one control group who followed an intervention program with 12 practice sessions for acquisition and retention of how to receive a ball. Groups received different types of feedback before and in the middle of each practice session. Reception performance outcome (score) and technique in every group were assessed before and at the end of the intervention program and during the retention phase. A 3 (Group) x 3 (Measurement Period) multivariate analysis of variance with repeated measures was applied to investigate differences. Results showed equivalent improvement in all three groups at the end of the intervention program. In conclusion, types of augmented feedback from the physical education teacher are effective in acquisition and retention of the skill for reception in volleyball.     

An experience sampling study of emotional reactions to music: listener, music, and situation

The Experience Sampling Method was used to explore emotions to music as they naturally occurred in everyday life, with a focus on the prevalence of different musical emotions and how such emotions are related to various factors in the listener, the music, and the situation. Thirty-two college students, 20 to 31 years old, carried a palmtop that emitted a sound signal seven times per day at random intervals for 2 weeks. When signaled, participants were required to complete a questionnaire on the palmtop. Results showed that music occurred in 37% of the episodes, and in 64% of the music episodes, the participants reported that the music affected how they felt. Comparisons showed that happiness-elation and nostalgia-longing were more frequent in episodes with musical emotions, whereas anger-irritation, boredom-indifference, and anxiety-fear were more frequent in episodes with nonmusical emotions. The prevalence of specific musical emotions correlated with personality measures and also varied depending on the situation (e.g., current activity, other people present), thus highlighting the need to use representative samples of situations to obtain valid estimates of prevalence.     

Emotions evoked by the sound of music: characterization, classification, and measurement

One reason for the universal appeal of music lies in the emotional rewards that music offers to its listeners. But what makes these rewards so special? The authors addressed this question by progressively characterizing music-induced emotions in 4 interrelated studies. Studies 1 and 2 (n=354) were conducted to compile a list of music-relevant emotion terms and to study the frequency of both felt and perceived emotions across 5 groups of listeners with distinct music preferences. Emotional responses varied greatly according to musical genre and type of response (felt vs. perceived). Study 3 (n=801)--a field study carried out during a music festival--examined the structure of music-induced emotions via confirmatory factor analysis of emotion ratings, resulting in a 9-factorial model of music-induced emotions. Study 4 (n=238) replicated this model and found that it accounted for music-elicited emotions better than the basic emotion and dimensional emotion models. A domain-specific device to measure musically induced emotions is introduced--the Geneva Emotional Music Scale.     

共情与中国民族音乐情绪识别的关系：来自ERP的证据

音乐情绪识别能力是利用音乐开展情绪调节的基本条件。传统的以五声音阶为基础的具有独特韵味的中国民族音乐反映了中国人独有的情感和价值观念, 在情绪调节和音乐治疗方面具有积极的作用, 是研究音乐情绪识别的有效音乐刺激。本研究采用跨通道情绪启动范式, 通过人际反应指针问卷筛选出高、低共情组被试各36人参加脑电实验, 考察共情能力对中国民族音乐情绪识别的影响。脑电数据显示, 在进行中国民族音乐情绪内隐识别时, 将宫调和羽调音乐作为启动刺激, 诱发了中期的P2、N400以及晚期正成分LPC (Late Positive Component)。低共情组P2和N400成分的波幅大于高共情组, 高共情组LPC成分的波幅大于低共情组。本研究第一次从电生理层面考察了不同共情能力的个体在进行中国民族音乐情绪识别时的神经反应差异。高低共情组在中国民族音乐情绪识别不同阶段的注意投入可能影响了其对音乐刺激的感受, 进而影响音乐情绪识别。     

Emotional responses to music: the need to consider underlying mechanisms

Research indicates that people value music primarily because of the emotions it evokes. Yet, the notion of musical emotions remains controversial, and researchers have so far been unable to offer a satisfactory account of such emotions. We argue that the study of musical emotions has suffered from a neglect of underlying mechanisms. Specifically, researchers have studied musical emotions without regard to how they were evoked, or have assumed that the emotions must be based on the "default" mechanism for emotion induction, a cognitive appraisal. Here, we present a novel theoretical framework featuring six additional mechanisms through which music listening may induce emotions: (1) brain stem reflexes, (2) evaluative conditioning, (3) emotional contagion, (4) visual imagery, (5) episodic memory, and (6) musical expectancy. We propose that these mechanisms differ regarding such characteristics as their information focus, ontogenetic development, key brain regions, cultural impact, induction speed, degree of volitional influence, modularity, and dependence on musical structure. By synthesizing theory and findings from different domains, we are able to provide the first set of hypotheses that can help researchers to distinguish among the mechanisms. We show that failure to control for the underlying mechanism may lead to inconsistent or non-interpretable findings. Thus, we argue that the new framework may guide future research and help to resolve previous disagreements in the field. We conclude that music evokes emotions through mechanisms that are not unique to music, and that the study of musical emotions could benefit the emotion field as a whole by providing novel paradigms for emotion induction.     

音乐与情绪诱发的机制模型

音乐与情绪关系的讨论正处于行为层面描述向认知及神经机制研究的初探阶段.线索一致性模型、音乐期待模型、协同化理论和多重机制模型分别从音乐线索、听者认知、音乐与听者互动关系及多重整合角度对音乐诱发情绪的过程做出了解释.当前分歧集中于三方面:(1)音乐诱发情绪是否必须以认知为中介;(2)诱发过程是一般领域还是特殊领域;(3)诱发情绪的机制是多元还是单一.文章提出确定概念同质、借助多指标测量和思考机制关系等解决思路,并阐明了此领域的研究趋势.     

The influence of music-elicited emotions and relative pitch on absolute pitch memory for familiar melodies

Levitin's findings that nonmusicians could produce from memory the absolute pitches of self-selected pop songs have been widely cited in the music psychology literature. These findings suggest that latent absolute pitch (AP) memory may be a more widespread trait within the population than traditional AP labelling ability. However, it has been left unclear what factors may facilitate absolute pitch retention for familiar pieces of music. The aim of the present paper was to investigate factors that may contribute to latent AP memory using Levitin's sung production paradigm for AP memory and comparing results to the outcomes of a pitch labelling task, a relative pitch memory test, measures of music-induced emotions, and various measures of participants' musical backgrounds. Our results suggest that relative pitch memory and the quality and degree of music-elicited emotions impact on latent AP memory.     

Relationships between musical structure and psychophysiological measures of emotion

Psychophysiological studies with music have not examined what exactly in the music might be responsible for the observed physiological phenomena. The authors explored the relationships between 11 structural features of 16 musical excerpts and both self-reports of felt pleasantness and arousal and different physiological measures (respiration, skin conductance, heart rate). Overall, the relationships between musical features and experienced emotions corresponded well with those known between musical structure and perceived emotions. This suggests that the internal structure of the music played a primary role in the induction of the emotions in comparison to extramusical factors. Mode, harmonic complexity, and rhythmic articulation best differentiated between negative and positive valence, whereas tempo, accentuation, and rhythmic articulation best discriminated high arousal from low arousal. Tempo, accentuation, and rhythmic articulation were the features that most strongly correlated with physiological measures. Music that induced faster breathing and higher minute ventilation, skin conductance, and heart rate was fast, accentuated, and staccato. This finding corroborates the contention that rhythmic aspects are the major determinants of physiological responses to music.     

“以道制欲,乐而不乱”——试论荀子的音乐教育思想

荀子是战国末期的儒学大师,杰出的思想家,对中国古代音乐美学的发展有重要贡献。荀子的音乐教育思想集中反映在《荀子.乐论》中。他认为人需要音乐,肯定了音乐在沟通人们情感以及在人性教化中的巨大作用,具有＂中和之美＂。要使其成为教育人的手段和工具,防止音乐陷入邪乱,就必须使其符合道德礼义的要求。本文以荀子＂以道制欲,则乐而不乱＂的礼乐哲学思想为基点,全面阐述了荀子礼乐教育思想的内容、本质和作用以及其对当代音乐发展的启示。     

Control of Expressive and Metronomic Timing in Pianists

In 12 tasks, each including 10 repetitions, 6 skilled pianists performed or responded to a musical excerpt. In the first 6 tasks, expressive timing was required; in the last 6 tasks, metronomic timing. The pianists first played the music on a digital piano (Tasks 1 and 7), then played it without auditory feedback (Tasks 2 and 8), then tapped on a response key in synchrony with one of their own performances (Tasks 3 and 9), with an imagined performance (Tasks 4 and 10), with a computer-generated performance (Tasks 5 and 11), and with a computer-generated sequence of clicks (Tasks 6 and 12). The results demonstrated that pianists are capable of generating the expressive timing pattern of their performance in the absence of auditory and kinaesthetic (piano keyboard) feedback. They can also synchronize their finger taps quite well with expressively timed music or clicks (while imagining the music), although they tend to underestimate long interonset intervals and to compensate on the following tap. Expressive timing is thus shown to be generated from an internal representation of the music. In metronomic performance, residual expressive timing effects were evident. Those did not depend on auditory feedback, but they were much reduced or absent when kinaesthetic feedback from the piano keyboard was eliminated. Thus, they seemed to arise from the pianist's physical interaction with the instrument. Systematic timing patterns related to expressive timing were also observed in synchronization with a metronomic computer performance and even in synchronization with metronomic clicks. These results shed light on intentional and unintentional, structurally governed processes of timing control in music performance.     

Reading Emotion From Mouse Cursor Motions: Affective Computing Approach

Affective computing research has advanced emotion recognition systems using facial expressions, voices, gaits, and physiological signals, yet these methods are often impractical. This study integrates mouse cursor motion analysis into affective computing and investigates the idea that movements of the computer cursor can provide information about emotion of the computer user. We extracted 16–26 trajectory features during a choice‐reaching task and examined the link between emotion and cursor motions. Participants were induced for positive or negative emotions by music, film clips, or emotional pictures, and they indicated their emotions with questionnaires. Our 10‐fold cross‐validation analysis shows that statistical models formed from “known” participants (training data) could predict nearly 10%–20% of the variance of positive affect and attentiveness ratings of “unknown” participants, suggesting that cursor movement patterns such as the area under curve and direction change help infer emotions of computer users.     

Associations Between Participant Ratings of PREP for Strong Bonds and Marital Outcomes 1 Year Postintervention

After completing a relationship education program, collecting participant evaluations of the program is common practice. These are generally used as an index of “consumer satisfaction” with the program, with implications for feasibility and quality. Rarely have these ratings been used as predictors of changes in marital quality, although such feedback may be the only data providers collect or have immediate access to when considering the success of their efforts. To better understand the utility of such ratings to predict outcomes, we evaluated links between participant ratings and changes in self-reported marital satisfaction and communication scores 1 year later for a sample of 191 Army couples who had participated in a relationship education program delivered by Army chaplains (PREP for Strong Bonds). Overall ratings of general satisfaction with the program and the leader did not predict changes in marital outcomes 1 year later, whereas higher ratings of how much was learned, program helpfulness, increased similarity in outlook regarding Army life, and helpfulness of communication skills training predicted greater change in communication skills 1 year later. Higher ratings of items reflecting intent to invest more time in the relationship, and increased confidence in constructive communication and working as a team with the spouse predicted greater increases in both marital satisfaction and communication skills 1 year later. The constructs of intention and confidence (akin to perceived behavioral control) suggest that the Theory of Planned Behavior may be particularly useful when considering which Army couples will show ongoing benefit after relationship education.     

Emotions induced by operatic music: psychophysiological effects of music, plot, and acting: a scientist's tribute to Maria Callas

Operatic music involves both singing and acting (as well as rich audiovisual background arising from the orchestra and elaborate scenery and costumes) that multiply the mechanisms by which emotions are induced in listeners. The present study investigated the effects of music, plot, and acting performance on emotions induced by opera. There were three experimental conditions: (1) participants listened to a musically complex and dramatically coherent excerpt from Tosca; (2) they read a summary of the plot and listened to the same musical excerpt again; and (3) they re-listened to music while they watched the subtitled film of this acting performance. In addition, a control condition was included, in which an independent sample of participants succesively listened three times to the same musical excerpt. We measured subjective changes using both dimensional, and specific music-induced emotion questionnaires. Cardiovascular, electrodermal, and respiratory responses were also recorded, and the participants kept track of their musical chills. Music listening alone elicited positive emotion and autonomic arousal, seen in faster heart rate, but slower respiration rate and reduced skin conductance. Knowing the (sad) plot while listening to the music a second time reduced positive emotions (peacefulness, joyful activation), and increased negative ones (sadness), while high autonomic arousal was maintained. Watching the acting performance increased emotional arousal and changed its valence again (from less positive/sad to transcendent), in the context of continued high autonomic arousal. The repeated exposure to music did not by itself induce this pattern of modifications. These results indicate that the multiple musical and dramatic means involved in operatic performance specifically contribute to the genesis of music-induced emotions and their physiological correlates.     

“Inside out”: Appraisals for achievement emotions from constructive,positive, and negative feedback on writing

Even with the recent surge of research on achievement emotions, few studies have investigated emotions in feedback situations and the appraisals associated with such emotions. The purpose of this study was to examine emotion appraisals of constructive criticism, negative, and positive feedback, to aid us in determining whether these appraisals differed by feedback type. In a task asking them to provide open-ended responses as they imagined receiving feedback on a writing task, undergraduates (N?=?270) gave reasons for why they might experience unpleasant emotions from positive feedback and pleasant emotions from negative feedback along with reasons for both pleasant and unpleasant emotions emanating from constructive feedback. Open coding of responses yielded categories for each emotion-feedback pairing that, across all emotions, were collapsed into five appraisal categories: feedback suggests ways to improve, a mismatch between feedback and task exists, feedback targets the self or one’s ability, feedback says something about the relationship between feedback giver and receiver, and the task is judged for its value. Distributions of appraisal categories distinguished constructive feedback from positive and negative feedback. Implications are drawn for control-value theory and for classroom feedback practices.     

Emotion regulation through listening to music in everyday situations

Music is a stimulus capable of triggering an array of basic and complex emotions. We investigated whether and how individuals employ music to induce specific emotional states in everyday situations for the purpose of emotion regulation. Furthermore, we wanted to examine whether specific emotion-regulation styles influence music selection in specific situations. Participants indicated how likely it would be that they would want to listen to various pieces of music (which are known to elicit specific emotions) in various emotional situations. Data analyses by means of non-metric multidimensional scaling revealed a clear preference for pieces of music that were emotionally congruent with an emotional situation. In addition, we found that specific emotion-regulation styles might influence the selection of pieces of music characterised by specific emotions. Our findings demonstrate emotion-congruent music selection and highlight the important role of specific emotion-regulation styles in the selection of music in everyday situations.